The Music Man : Promotions

[jo]

NBC Today Show Guests [month] [dt] [year] & This Week's Schedule 5

Today’s guests and show highlights, May 22, 2022 on NBC’s Today Show plus this week’s, previous and upcoming guests and highlights.

Contents [show]

NBC Today Show May 22 2022 & Weekly Schedule Lineup
Date Guests
Monday, 23 May 2022 (7-9 a.m.) Hugh Jackman on The Music Man on Broadway. TODAY Best Sellers: Hidden Gems with Adrianna Brach.

[jo]

[jo]

[jo]

"There's something about Broadway that just feels like home."

Five shows on Broadway in 19 years -- not bad!!

Jo

[jo]

[jo]

Michael Riedel and Len Berman interview Hugh --

[jo]

[jo]

[jo]

[jo]

A full interview featured in the New York Times --

Hugh Jackman Is Having Fun Playing as ‘Arrogant as You Possibly Can’





“There’s something about this show that buoys me up with an energy that I didn’t think I had,” the Tony nominee said of “The Music Man.”


“You have to hold on to the feeling you have in front of an audience, and be honest with yourself about where you can improve,” Hugh Jackman said of his approach to his stage work.

“You have to hold on to the feeling you have in front of an audience, and be honest with yourself about where you can improve,” Hugh Jackman said of his approach to his stage work.



Credit...Victor Llorente for The New York Times

By Juan A. Ramírez

May 24, 2022, 2:47 p.m. ET

“It was kind of a miracle that I got into musical theater,” the actor Hugh Jackman said the other day, recalling the start of his career in 1995. “I’d just graduated, and my agent said they couldn’t find anyone to play Gaston in [the Australian production of] ‘Beauty and the Beast,’ so I went in and gave it a go. I got the part, but it was in my contract to get singing lessons once a week. I’ve very much felt like an outsider from the beginning.”


Now in the running for his third Tony Award, for his portrayal of the all-American con man Harold Hill in a revival of “The Music Man,” the Australian native recounted what it’s been like to return to the stage for his first Broadway musical since 2003. (Though he hasn’t been a total stranger; he starred in “A Steady Rain” in 2009 and “The River” in 2014.) Throughout an afternoon hour at a Midtown hotel, Jackman came across as a curious performer who leads with the affirmative; his is a disarming charm sculpted out of consideration and confidence.

Despite his long list of credits and accolades, Jackman, 53, seems as eager to please as he is to jump into the next adventure. He has an inquisitive mind, which I experienced firsthand when he audited a graduate film history course at Columbia University that I also attended in the spring 2020 semester. His friend Annette Insdorf taught the course, and when the pandemic shut down in-person classes, Jackman continued attending the four-hour seminars through Zoom.

“I have a layman’s understanding of film. I would ask directors for five films I should see before I die, and almost all of them I’d never seen,” he said. “I asked Annette for help, and she told me to just join her course.”

At the time, he was promoting the HBO film “Bad Education,” in which he played a real-life former school superintendent who pleaded guilty to stealing $2 million from his district, and beginning early “Music Man” rehearsals with his future co-star Sutton Foster.





Sutton Foster as the librarian Marian Paroo and Jackman as the con man Harold Hill in “The Music Man.” Jackman said of working with Foster: “I certainly have to bring my triple-A game.”


These are edited excerpts from our conversation.


You play larger-than-life scammers in both “The Music Man” and “Bad Education.” Did one role inform the other?

The 2022 Tony Awards

This year’s awards, which will be given out on June 12, are the first to recognize shows that opened following the long pandemic shutdown of Broadway’s theaters.

I’m very fascinated by the collective fascination with con men and scam artists, and there’s some crossover there with P.T. Barnum [whom he portrayed in the film “The Greatest Showman”]. I’m still not 100 percent sure where it comes from, but I think it’s deeply rooted in a very American individualist philosophy of not doing what the man tells you to do.

You’ve lived in the United States for about 20 years. Do you consider yourself an American?

I’m Australian. I think America’s an extraordinary place, though — there are very few places as generous of spirit.



Do you think that generosity is what draws Americans to scammers?

It goes back to this sense of individualism, and the ultimate expression of that is the con man, who goes against everything and flips the rules of hierarchy. Australia has got a little bit of that, but we saw during the pandemic that Australians follow the rules. There’s a collective, “We should really be doing this,” and people fall in line. And as we saw here, there’s no falling in line.


So is your draw to these characters pure escapism?

What I love about acting is exploring the sides of people who choose to live in a way opposite to how we were brought up, and can’t believe everyone around them is still following the rules. So it’s not escapism; it’s just fun to play something I wouldn’t allow or want myself to do in life. I’m glad everyone is not Harold Hill, but it’s great fun to play as arrogant as you possibly can for two and a half hours. Self-deprecating kind of gets boring after a while.


How does the role feel six months into the show’s run?

For me, this big show with a cast of 47 keeps growing. I’m in a lead role, but it doesn’t feel as exhausting as I’ve experienced [in other shows] in the past. I think it’s the way they built these old shows. I’m onstage a lot, and driving a lot of it, but it’s different: I go on at the beginning, sing the first number, and go off to have a costume change. I’m not a smoker, but it feels like a cigarette break, which I’m pretty sure is what a lot of them were doing back then.

There are some days when I go in tired, but by the third scene: “Wow. I’m back.” There’s something about this show that buoys me up with an energy that I didn’t think I had. And when you’re working with Sutton —



Has she taught you about stamina? She’s a star who puts in the work of a swing.

She’s a marvel. I certainly have to bring my triple-A game. Asking me to tap dance alongside Sutton Foster is like asking me to play Novak Djokovic on the court. Rehearsals with her were fun, but it was kind of dispiriting to spend a year and a half working on that and then watch these kids come in and learn it in three hours.



“I want them to still be kids and not lose that joy. I’m protective of them,” Jackman said of his young co-stars in the show.




You’d never worked with this many children onstage, let alone in a show with 21 Broadway debuts. Do you find yourself parenting them?



It has become a little bit like that, particularly with the youngsters. I guess some of them see me as Wolverine [the superhero character he plays in the “X-Men” film series], so it feels a little paternal. I think, particularly for the kids in their first show, I want them to still be kids and not lose that joy. I’m protective of them.



Did you feel a danger of losing your own joy during your rise?

There were times when I was doing the first “X-Men,” my first big American movie, when I found it quite lonely. I was mainly from the theater, and you could feel that sense of, “Mmm, it’s a bad smell.” I don’t know exactly when things turned, but when the studio said they liked what I was doing, I could feel everyone coming to me. It made me sad. I realized film was more individual, less of an ensemble. The theater thrives on, and has to have, a feeling of ensemble, or it dies. There’s just no way to get through rehearsals, or eight shows a week, unless you have each other’s backs.

So ever since that first movie, I’ve been pretty proactive in trying to create an atmosphere that is supportive and open. I want to make sure that even under the pressure of a professional situation these kids are still kids.



Have you seen any other shows this season?

No, but I really want to see the Scottish play.



Even outside the theater, you won’t say its name?

I’m a more fearful person than most people would think. I forced myself through a lot of those fears and, though I wish I’d been less harsh with myself, I’m glad I pushed through because I think fear is not specific to the thing you think you’re scared of. Before you know it, it becomes cancerous and grows until your life becomes smaller without you even realizing it. I have a constant wish to be free of that, and to just say yes to things.

Going between film and theater, though — it’s one thing to say yes to a film that flops, and then you move on, whereas a show is a long commitment.

Well, if the show really sucks and everyone hates it, you’re going to close pretty quick. The way I live with that sort of thing is by being clear about why I’m doing something. If I really believe in the choice, I’ve done it for the right reason. I don’t ever read reviews, and with “The Boy From Oz,” I thought we’d been doing great until producers told us they weren’t sure we were going to make it. By the end we were going gangbusters, and they asked me to stay on for three more months. You have to hold on to the feeling you have in front of an audience, and be honest with yourself about where you can improve.



You’ve said you were hesitant to do “The Music Man” because you wanted to wait for an original piece. What changed?

Whenever I went to the theater in school, I wanted to see something new. I wasn’t a musical theater guy desperate to see this version of that, I just wanted to see something great that moved me, and most of the time, that would be new work.

When I then found myself in a position where people asked me what I wanted to do, I wanted to use that capital on something new. I tried to get a few things going that didn’t happen — a “Houdini” musical, some workshops for “Big Fish,” and I learned how hard it all was. Then “Showman” took eight years to get made, and that’s when I realized: OK, “The Music Man” is a great show. It’s beautifully written, beautifully structured, and I just knew I had to do it. I would still love to do something original onstage.


What about a ground-up revision? A gender-swapped “Hello, Dolly!” perhaps?

I think it’d be fun, I’m totally up for that. Sutton and I actually joked about doing an April Fools’ joke and swapping roles. I certainly know her songs; I listen to them every night. But my soprano is not so great.

[jo]

I was the first to send in a comment. I had to keep myself from gushing too much - LOL!

JosieB
Philippines20m ago

Hugh Jackman is an actor with impressive range in both film and stage! Besides acting before a camera or impressing with his triple-threat talent on Broadway, he has also done Oscars/Tonys hosting as well doing a world music tour that was more of a theatre show.

Maybe his mass communication/journalism degree may eventually encourage him to write a book on his insights on his craft or even do some scriptwriting?

His interviews are enjoyable to read as he is quite conversant and even articulate on many subjects.

He needs an Oscar to complete the EGOT status. Maybe his next film release, Florian Zeller's THE SON, will be the vehicle to allow him Oscar recognition?
And maybe another Tony in the offing?

[jo]

May 23, 2022 11:36:55 GMT -5 jo said:

Michael Riedel and Len Berman interview Hugh --

Hugh shared with Michael Riedel his last performance date for The Music Man -- January 1, 2023!

[jo]

ew.com/theater/the-music-man-kids-hugh-jackman-sutton-foster/?fbclid=IwAR3J_JSA2zIQ6WV6yJ-t0LrD69smO9SVI0sk9mXB5Apw6Bf2PQcOiV3mpos

Kayla, Emily & Benjamin interview Hugh & Sutton!

http://instagram.com/p/CeAFO0AluA8

[jo]

[jo]

Very nice interview with Sutton --

(TMM seems to have cornered the market for publicity to win the Tony )

Jo

[jo]

[jo]

[jo]

[jo]

[jo]

Behind the handsome face...is an actor who has faced acting challenges of many colors! An actor of great range!
In movies and on stage!

Jo

[jo]

Not really a promotional initiative...but an advocacy for the former Actors Fund --

THE MUSIC MAN Announces Special Performance to Benefit Entertainment Community Fund
Tony, Grammy, and Emmy Award-winning Hugh Jackman stars as Professor Harold Hill and two-time Tony Award winner Sutton Foster stars as Marian Paroo.
by Chloe Rabinowitz Jun. 1, 2022

Tickets

Cast

Photos

Videos

Info
The Music Man

Entertainment Community Fund (formerly The Actors Fund) announced that the celebrated Broadway revival of Meredith Willson's The Music Man is adding a Special Performance on the evening of Sunday, August 28 at 8 pm ET to benefit the Fund at the Winter Garden Theatre.

Tickets for this special benefit performance will go on sale to the general public beginning at 10:00 a.m. ET on Friday, June 3 via EntertainmentCommunity.org/MusicMan. One day prior, on Thursday, June 2 at 10:00 a.m. ET, Entertainment Community Fund members at the $500 membership level and above will have exclusive pre-sale access to be able to purchase tickets. Show-only tickets range from $99-$279; $500 mid-Premium and $1,000 Premium tickets include an invitation to a private pre-show reception.

Entertainment Community Fund President and CEO, Joseph Benincasa, said "We can't wait for this summer's Special Performance of The Music Man-the first to be announced for the Entertainment Community Fund under our new name. Thank you to everyone donating their time and talents to support our essential programs and services."

[jo]

[jo]

CINDY ADAMS
OPINION

Hugh Jackman opens up about Broadway’s ‘The Music Man’ and how he stays relaxed
By Cindy Adams
June 1, 2022 7:20pm Updated

Hugh Jackman performing in "The Music Man" on opening night on February 10, 2022.



Peeking into Hugh’s head

“I get up about 8,” said Hugh Jackman. “I sleep a lot. I’m a meditator. I’ve meditated twice a day for years. Without that I’d probably be dead by now. I train a couple of times a week. And take it easy during the day, so at 53 I can pretend to be 35 when I’m onstage.

“Way to handle exhaustion is martinis. Makes everything fine and I try not to make too many. I don’t go out a lot. Last Sunday, went to dinner with my kids then watched Tom Hanks’ movie. It’s a racy life.

“And don’t ask if I ever effed up onstage. I have. Many times. Once I actually peed in my pants. Onstage. Wearing red tights. That’s about as far cooped up as you can get. I had to laugh it off. Listen, we’re all human. I don’t love making mistakes, but I love when someone else does.

“Things have gone wrong a few times in [‘The Music Man’]. It’s terrifying because it’s all so fast. Once you get off the train it’s, like, miraculous to get back on. Frightens me. Happened twice where I just lost one or two lines. Then, for the next three shows, I’m in the wings sweating. Thinking, ‘Oh, God, have I got all I need to remember?’ Happens all the time.

“I don’t worry much during the scenes. Because I’ll just ad-lib around. Worries me during a number. Like when I’m into very fast patter in a song. When you get off track then you’re in trouble.”




His Sundays are fun days

You’re thinner. What about losing the weight?

“No choice. That amount of moving around and dancing — and I’m naturally skinny. When I did ‘Wolverine,’ I had to put on weight. I’m always having to put on weight. My body naturally wants to go down in pounds. I’m basically a real-life Tommy Tune.

“I love Sundays because nothing to worry about next day. Monday I again start to worry about the following night. Sunday I go out. My wife is social, so me not doing anything my night off is not a possibility. She’s: ‘Oh, no, I didn’t get you for six nights — we’re going out the seventh night.’



Jackman said he has made several mistakes while onstage including during "The Music Man."

“Occasionally I even hurt myself. A week ago, I found myself facing the floorboards. I tripped. When I got up, I was fine. Hurt my ankle a bit. The cast cheered me like I’d finished the marathon. They were nervous. It probably looked more dramatic than it was. And then there was my character’s action of throwing books. I dropped one the other night. Went right on the conductor’s head. Thank God his scalp didn’t crack open. The audience loved it.”

Not all-powerful




So when you leave the show, what then?

“I’m here till the new year. Then, who knows.”

Hugh and I remembered our first meeting. He’d just come over from Australia. His first big movie — “X-Men.”

Jackman claimed that he doesn't know what his next move will be after he leaves "The Music Man."

And now — having been in his home — I know he’s rich enough to have an all-black guest john. If he sits on it, does it change color?

“No. I’m not that powerful.” Yet.

[jo]

HOME
ARTISANS
NEWS
Jun 2, 2022 9:15am PT
How ‘Music Man’ Choreographer Helped Hugh Jackman Perfect His Moves for Broadway Revival

By Jazz Tangcay

Plus Icon
Music Man.Hugh Jackman and Sutton Foster.
Julieta Cervantes

Not even the pandemic was going to stop “Music Man” Tony Award nominee Hugh Jackman from mastering the tap and dance routine for the show’s Broadway revival.

Jackman kept training with choreographer Warren Carlyle as the health crisis delayed the musical’s opening from fall 2020 to May 2021 to its eventual bow in February. Carlyle, who first worked with the star on the 1998 stage production of “Oklahoma!,” received a Tony nomination for his “Music Man” choreography, which took three years to fine-tune.

In a musical filled with show-stopping moments, one standout is “76 Trombones.” Early in the show, Jackman’s Harold Hill must convince the people of River City, Iowa, they need a boy’s band. He proceeds to tell them about the time he saw a marching band with 76 trombones and 110 cornets.


Carlyle, who approached the “Music Man” revival like a brand new musical, wanted Harold to sell the number to the parents and kids as well as to the audience. “This song is about faith,” Carlyle says. “If Harold can get the kids to believe they’re playing these instruments, then the parents will buy the instruments and off we go. My mission by the end of the number was getting the audience believing that they too were seeing a band and these kids play the instruments.”

Carlyle kept dancer-choreographer Jerome Robbins’ style in mind as an inspiration when structuring the number. “I wanted it to be resplendent, shiny and bright,” he says, estimating that the choreography took around five days to initially create.



Warren Carlyle maps the choreography spacing
Warren Carlyle



The set piece featured a large portion of the show’s 46 cast members. A mapping system helped Carlyle navigate the different elements, breaking down the steps, movement and positioning of the number. But the show’s star, Jackman was key to it all.

With Broadway shuttered, Jackman and Carlyle utilized a studio space in the city. Amid COVID protocols that included being tested twice a week and masking, they plowed on. “We worked three mornings a week. Hugh wanted to keep working and he trained and trained because of the demands of the performance,” says Carlyle of the sequence that surrounded the actor with the best dancers in the business.

Beyond putting together dance moves, he need to incorporate story and developing character. “It’s a heavy lift, choregraphically,” Carlyle admits.

The pandemic made everything just a little more challenging. Costume design and scenic design progressed over Zoom calls, but Carlyle was grateful for Jackman’s willingness to train in person; the last thing he wanted to do was teach steps remotely. “I’m the kind of person that needs to touch it,” Carlyle says. “I have to get up and move. We have to be in the same room.”

Carlyle also worked with the ensemble for the “76 Trombones” reprise, which incorporated instruments. “It’s about the promise of the song,” he explains. “It’s about the promise of those instruments. So, not only did they have to have the shiniest brass instruments ever — from trombones being thrown in the air to characters dancing with their trombones, we had to make the magic come through.”




Warren Carlyle
COMMENTS

[jo]